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Tips about Providing your Old Gold Jewelry from Rago Arts Jewellery Specialist Sarah Churgin

When it comes to getting the finest value for the jewelry you now not have on or want, it can be a circumstance ofsellerbeware.

While using the substantial valuation of gold as of late, the inducement to sell jewellery is usually quite robust. Peopleare holding wine-and-cheese “gold parties” where they provide their jewelry for scrap value. Purchasers areeverywhere, proclaiming “We invest in gold! Best costs compensated! Gold at file highs!”

This is not solely real. Even though the 1,000-an-ounce mark does have an unfamiliar ring to it, thebenchmark is deceiving. Gold would’ve to strike $2,200 an oz in the present bucks to match the1980’s higher of $850. Silver was also at its superior in 1980, effervescent from $8 an oz inside the slide of 1979to over $49 in 1980. For a result, folks bought silver bracelet for menanything and anything for scrap bodyweight. Too many puttoo small imagined to the relevance of the piece alone, scrapping every thing issue from exquisiteexamples of Georgian gold jewelry to Tiffany & Company exhibition silver – work with artistic orhistoric worth -and therefore financial value – far in excess of its pounds.

Don’t get us wrong – if you have kinked out chains or big hollow necklaces last seen on theCarringtons in Dynasty, it is a perfectly good idea to scrap them. Just don’t make the mistake ofcleaning out your jewellery box or silver drawer before you run the contents past an expert.

Here’s what we know that you may not:

? Not all gold is marked. The American stamp act didn’t occur until 1906. Prior to that, muchwasn’t marked at all.

? The U.S. system that equates 24k gold with absolute pure gold is not and has never been auniversal system. Most European countries and their colonies use a system wherein 1000 goldis absolute pure, 750 equates to 18k and 585 equates to 14k. These numbers are oftenconfused for other marks.

? The UK had a strong assay office that demanded gold and silver be marked clearly anduniformly. Not so with most other countries. Foreign marks – if pieces were marked at all – areoften obscure and hard to find. You may not even see them.

? Russian and French jewellery are highly valued and proper identification can greatly affectappraisals, but this might be difficult. French brooches tend to be marked on the pin stem. If thepin has been replaced, as frequently happens, the marks are gone. Russian assays are yet adifferent calculation (measured in zolotniks) and Russian marks are both easily confused andoften “enhanced” by shady operators.

? Late 19th century flatware services were produced with as lots of like a hundred differentspecialized utensils. Some of these place and serving pieces are rare, eagerly sought after bybuyers looking to accumulate complete antique sets.

? Early American silver marks intentionally resembled the English marks. Values of AmericanFederal silver far exceed those of imported pieces of the same era.

? Even broken pieces can have greater than scrap worth. You might be surprised to know, also, that fine gems have not always been set in noble metal. Prior tothe 20th century, diamonds were set into silver to be a matter of course. These old cuts of diamondsmay look like roughly faceted pieces of glass or rhinestones. Rago’s jewelry expert Sarah Churginhas often identified antique silver jewellery as set with outdated diamonds, much to your real moldavite necklacesurprise and delightof the owners.

Rarity and worth of maker is a factor that must be considered. A bit of jewellery made by theKalo Shop will look deceptively simple to most and may resemble the work of quite a few other makers ofthe Arts and Crafts era (1880 – 1910). No matter. Kalo Shop has great value despite (or because) ofits simplicity and much greater benefit than similar pieces of the era, particularly in gold.

Provenance and inscription can likewise elevate worth. Rago’s sold an historic commemorative teacaddy made of American coin silver for $2,880. The value of the silver itself? Only $200.Here are a few more examples of price ranges realized at Rago’s last December while using the price ranges this jewelryand silver would fetch as scrap as of this writing:

? Lot 1001: Enameled 14k yellow gold fly brooch by A.J. Hedges, Newark, 1890-1900. Scrap benefit:

$300. Offered for $5,100.

? Lot 1168: Ed Wiener 18k yellow gold cuff. Scrap price: $950. Offered for $7,two hundred.

? Lot 1269: Mexican silver cuff by William Spratling, ca. 1940. Scrap worth: $30. Offered for 1,440.

? Lot 1603: Tiffany & Co. exhibition grade silver vase, ca. 1901. Scrap worth: $1500. Sold for


? Lot 1608: GORHAM MARTELE silver open sugar bowl, 1906. Scrap benefit: $200. Offered for 1,920.

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Don’t miss the Rago Arts Jewelry Auction on December 6, 2009. Exciting pieces are rolling in, and jewellery professional Sarah Churgin is glad to share this special brooch with Gem Gossip readers.

The Details: Walt Disney’s “Dance of The Hours” platinum and diamond lapel-pinwatch by Cartier. Starting in1934 and continuing through the 40’s Cartier producedcommissioned gems for Disney based on characters from cartoon andanimated features. In Disney’s “Fantasia”, 1940, Ponchielli’s ballet”Dance of the Hours” is performed to comic effect by some graceful andsome not so graceful animals, including a troop of elephants. The punis captivating in that this gem is a timepiece! The rectangular watch, twice signed by Cartier, hanging from a lapelpin in the form of an elephant’s tusk, suspends two dancing elephants. Diamond pave’ throughout, ruby eyes. Movement: 17 jewels by J.Schulz, Swiss, c. 1940.

>>Interested in owning this rare Cartier brooch? Then register and bid-for more information check out Rago Arts’ website. To read Gem Gossip’s exclusive interview with jewellery expert Sarah Churgin, click here.